Fred Hersch - Songs From Home

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 57:13
Size: 131,8 MB
Art: Front

(6:09) 1. Wouldn't It Be Loverly
(5:50) 2. Wichita Lineman
(5:15) 3. After You've Gone
(7:16) 4. All I Want
(4:38) 5. Get Out Of Town
(5:47) 6. West Virginia Rose / The Water is Wide
(5:57) 7. Sarabande
(5:10) 8. Consolation (A Folk Song)
(6:04) 9. Solitude
(5:02) 10. When I'm Sixty Four

In order for solo piano playing to be maintained at a high standard, the artist must exhibit a prolific imagination, a wealth of conviction and self-assurance, note-striking precision and a firm sense of swing. Throughout his career, Fred Hersch has exhibited these qualities. Since performers (be they musicians, dancers or actors) are generally defined by their craft (otherwise they are just regular folks like the rest of us) even in these uncertain times, they continue to look for inventive ways to express themselves. Hersch found his in this self-recording from his home in rural Pennsylvania and performed on a familiar but imperfect seven foot Steinway B. He did it by bringing a new openness to an album of covers. "Many of these songs date back to the years before I even knew what jazz was," says Hersch. Hersch belongs to a coterie of jazz pianists who are musically educated and have a versatility in their work that allows them to survive in today's environment. In this eleven track recital, Hersch's overall approach is basically to be faithful to the primary themes of each composition but extend the rhythmic pattern in many ways through the improvisational process. Opening with "Wouldn't It Be Loverly," Hersch lays down a reflective structure as he putters over passages to extract his intended mood. Glen Campbell had a hit with Jimmy Webb's "Wichita Lineman," which talks about love lost on an endless highway. Hersch states the theme then moves on, holding the original material in a standoff fashion, as he explores its contours.

The ever reliable Cole Porter invokes a well known theme in "Get Out Of Town," which Hersch approaches in a rakish upbeat fashion as he plays the theme phrase in a series of eighth notes. As the number progresses, Hersch abandons the melody and replaces it with improvised passages that he negotiates as an ever changing theme before returning to the familiar melody. As he negotiates his way through the remaining compositions, two of which, "West Virginia Rose" and "Sarabande," are is own, Hersch contemplates the structures of the pieces and finds an accessibility that offers a lucidity to their interpretation. During October, Hersch would have celebrated his 65th birthday. So he gave himself a birthday present with a re-imagining of the Lennon/McCartney classic "When I'm Sixty-Four." He uses a playful stride technique to bring the album to a close in anticipation of better days ahead. Throughout this release, Fred Hersch plays with an elusiveness and unconventionality that is meant to sustain the listener's interest, which he unfailingly does. ~ Pierre Giroux https://www.allaboutjazz.com/songs-from-home-fred-hersch-palmetto-records

Personnel: Fred Hersch: piano.

Songs From Home

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Mike Murley - Conversation Piece

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 65:09
Size: 150,2 MB
Art: Front

(10:51) 1. George Is Gone
( 5:12) 2. I've Got You Under My Skin
( 9:01) 3. Conversation Piece
( 8:20) 4. Touch Her Soft Lips And Part
( 9:06) 5. Green Chimneys
( 8:09) 6. Goodbye Gladstone
( 7:20) 7. Greville Bay
( 7:08) 8. L'homard Bleu

Mike Murley may not be a household name outside of Canada, but his many recordings are consistently stimulating and fresh. On this CD with pianist Dave Restivo, bassist Jim Vivian, drummer Ted Warren and (on four of the eight selections) the Kenny Wheeler-inspired trumpeter John MacLeod, Murley consistently shows off his versatility. He purposely plays "I've Got You Under My Skin" (the only standard of the date) in the style of Sonny Rollins, performs some hard bop originals (in some cases showing off the influence of Joe Henderson), sounds quite tender on Cedar Walton's waltz "Touch Her Soft Lips and Part" and switches to his playful soprano on Thelonious Monk's "Green Chimneys." The medium-tempo blues "L'Homard Blue" wraps up the advanced, straight-ahead date in swinging fashion.~ Scott Yanow https://www.allmusic.com/album/conversation-piece-mw0000777746

Personnel: Saxophone – Mike Murley; Bass – Jim Vivian; Drums – Ted Warren (2); Piano – David Restivo; Trumpet – John Mcleod

Conversation Piece

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Antigua Jazz Band - 40 Años A La Antigua

Styles: Jazz, Big Band
Year: 2011
File: MP3@320K/s
Time: 79:45
Size: 185,1 MB
Art: Front

(5:57) 1. C Jam Blues (Improvisacion De Un Blues En Do)
(2:42) 2. Take The A Train (Toma El Tren A)
(2:58) 3. Old Man Blues (Blues Del Anciano)
(3:39) 4. Thing's Ain't What They Used To Be (Las Cosas No Son Lo Que Eran)
(3:36) 5. Back Water Blues (Blues De La Inundacion)
(2:13) 6. Tiger Rag (El Paso Del Tigre)
(2:52) 7. The Creeper (El Trepador)
(3:57) 8. Cry Me A River (Llorame Un Rio)
(5:51) 9. Nobody Knows The Trouble I' Ve Seen (Nadie Conoce Mis Pesares)
(4:13) 10. Ain't Misbehavin (No Me Porto Mal)
(4:39) 11. Summertime (Tiempo De Verano)
(3:56) 12. I'Ve Got Rhythm (Tengo Ritmo)
(5:11) 13. Don't Get Arround Much Anymore (Ya No Salgo Tan Seguido)
(4:09) 14. Imagine My Frustation (Imagina Mi Frustacion)
(3:33) 15. Miss Lilly Higgins Sings Shimmy In Mississippi's Spring
(3:32) 16. Mean Mistreater Mama (Tu Me Maltratas)
(7:11) 17. St.Louis Blues (Blues De Saint Louis)
(2:38) 18. Going Nuts (Enloqueciendome)
(6:50) 19. Black And Tan Fantasy (Fantasia En Negro Y Canela)

George Coleman - Bongo Joe

Styles: Jazz, Post Bop
Year: 1969
File: MP3@320K/s
Time: 49:46
Size: 115,6 MB
Art: Front

(3:20) 1. I Wish I Could Sing
(5:21) 2. Science Fiction
(7:17) 3. Innocent Little Doggy
(5:52) 4. Cool It Right
(3:53) 5. Listen at That Bull
(2:35) 6. Crazy with Love
(4:49) 7. Great (Instrumental)
(5:53) 8. Transistor Radio
(6:23) 9. Eloise
(4:19) 10. Dog Eat Dog

A crazed, primal record, Bongo Joe is a deserved cult classic; beating wildly on oil drums, George Coleman delivers bizarre raps including "Innocent Little Doggie" and "Transistor Radio" hilarious, edgy stuff. ~ Jason Ankeny https://www.allmusic.com/album/bongo-joe-mw0000088723

Bongo Joe

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Steve Lacy - Only Monk

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 44:55
Size: 103,5 MB
Art: Front

(3:46) 1. Evidence
(3:31) 2. Humph
(4:41) 3. Eronel
(5:52) 4. Pannonica
(4:26) 5. Little Rootie-Tootie
(5:51) 6. Misterioso
(7:17) 7. Work
(4:20) 8. Light Blue
(5:08) 9. Who Knows?

Steve Lacy has long been one of the foremost interpreters of pianist Thelonious Monk's music. This set is a solo soprano saxophone recital in which Lacy digs into nine of Monk's compositions. Most of the interpretations are quite concise, with all but the seven-minute "Work" clocking in at under six minutes. As usual, Lacy shows great respect for the melodies, and his improvisations are built off of the themes rather than just the chord changes. The sparse setting allows the soprano master to utilize space effectively and to take his time. The overall results, which are certainly for selective tastes, are often fascinating. ~ Scott Yanow https://www.allmusic.com/album/only-monk-mw0000193172

Personnel: Steve Lacy – soprano saxophone

Only Monk

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Frédéric Schlick - New Accordeon

Styles: Jazz, Gypsy Jazz
Year: 2004
File: MP3@320K/s
Time: 63:24
Size: 147,9 MB
Art: Front

(3:42) 1. Roseville
(4:08) 2. Just One Of Those Things
(4:46) 3. I'll Remember April
(3:33) 4. New Accordeon
(5:37) 5. Time After Time
(4:11) 6. Wind Rose
(3:35) 7. Je plane
(4:13) 8. Golden Sound
(2:54) 9. Tendrement
(4:50) 10. My Feeling For My Accordeon
(3:29) 11. Cherokee
(4:22) 12. Rotterdam Meeting
(5:58) 13. Que reste-t-il de nos amours?
(5:01) 14. What's New
(2:59) 15. You And The Night And The Music

Frédéric Schlick (* 1935 in Strasbourg ; † December 14, 2006 ) was a French accordionist of gypsy jazz.

Schlick, who lived in Alsace , learned the accordion at the age of eight. As a teenager he played in a band and was also active as an amateur until 1980. Influenced by Art Van Damme , with whom he played in 1997, he only began his musical career on the edge of retirement age. He worked primarily with musicians from Alsace, such as Franck Wolff or Biréli Lagrène , but also with Armin Heitz and André Ceccarelli, and recorded twelve albums under his name. In Germany he performed mainly with Wedeli Köhler , Pouro Sinto, Ferry Baierl and Joe Bawelino , but also in the ensemble of Romeo Franzon. He died after suffering from cancer.Translate By Google https://de.m.wikipedia.org/wiki/Frédéric_Schlick

New Accordeon

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Various Artists - The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

Styles: Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 59:31
Size: 137,8 MB
Art: Front

(11:52) 1. Lester Leaps In
( 9:40) 2. On Green Dolphin Street
( 6:24) 3. Blue Creek
( 5:28) 4. You'd Be So Nice to Come Home To
( 6:50) 5. When Your Lover Has Gone
( 7:15) 6. Night in Tunisia
( 4:12) 7. Joshua Fit the Battle of Jericho
( 7:46) 8. Moten Swing

This CD, which documents a live concert, has a silly title form. Actually out of the eight selections, only two ("On Green Dolphin Street" and "Night In Tunisia") have anything to do with bop. In reality this is a mainstream date featuring pianist Dick Hyman with some of his favorite players including fellow pianist Derek Smith, cornetist Warren Vache, trumpeter Joe Wilder, trombonist Urbie Green, Buddy Tate on tenor and clarinet, bassist Milt Hinton (featured on "Joshua Fit the Battle of Jericho") and drummer Butch Miles. Tate's clarinet outing on "Blue Creek" and Wilder's lyrical solo on "When Your Lover Has Gone" are excellent, but in general (considering the players involved) the results are average and fairly predictable. ~ Scott Yanow https://www.allmusic.com/album/the-kingdom-of-swing-the-republic-of-oop-bop-shbam-mw0000654020

Personnel: Dick Hyman, piano; Derek Smith, piano; Urbie Green, trombone; Milt Hinton, bass; Butch Miles, drums; Buddy Tate, tenor sax; Warren Vache', Jr., cornet; Joe Wilder, trumpet

The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

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Booker T. & the M.G.'s - The Booker T. Set

Styles: R&B, Soul
Year: 1987
File: MP3@320K/s
Time: 36:35
Size: 85,5 MB
Art: Front

(2:45) 1. The Horse
(3:02) 2. Love Child
(3:33) 3. Sing A Simple Song
(3:30) 4. Lady Madonna
(3:41) 5. Mrs. Robinson
(3:07) 6. This Guy's In Love With You
(4:18) 7. Light My Fire
(2:49) 8. Michelle
(3:54) 9. You're All I Need To Get By
(2:49) 10. I've Never Found A Girl (To Love Me Like You Do)
(3:02) 11. It's Your Thing

A fine collection featuring the great soul quartet putting their spin on classic numbers, ranging from Cliff Nobles' "The Horse" to Motown, Beatles, Isley Brothers, and even some in-house songs like Eddie Floyd's "I've Never Found a Girl (To Love Me Like You Do)." The original lineup is in fine form, particularly drummer Al Jackson, Jr. ~ Ron Wynn https://www.allmusic.com/album/the-booker-t-set-mw0000193708

Personnel: Booker T.Jones - Hammond organ, Hohner clavinet, piano, vibraphone; Steve Cropper - electric guitar, sitar; Donald Dunn - bass guitar; Al Jackson Jr. - drums, tambourine

The Booker T. Set

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Laura Fygi - Laura Goes East

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 37:55
Size: 88,2 MB
Art: Front

(2:49) 1. Blue Moon
(2:56) 2. Here, There and Everywhere
(4:53) 3. I want Us To Be Together
(4:30) 4. When I Fall In Love
(3:33) 5. Moon River
(2:38) 6. Somewhere Along The Way
(4:05) 7. Our Love Is Here to Stay
(3:44) 8. Stormy Weather
(4:06) 9. Over The Rainbow
(4:37) 10. What a Wonderful World

Everywhere that Laura Fygi visits, she is a veritable vision of exotica. In her home country of the Netherlands, they know her as the woman who was raised in Uruguay as the daughter of an Egyptian belly dancer; in the Far East she is the emancipated Western lady who many others aspire to be. But wherever she may be, there’s one common factor in all of those locations: that instantly recognisable voice which has won her hearts all over the globe. Her travel-packed lifestyle has provided her with the most amazing experiences, as Laura has been a welcome return visitor to Asia for years. As a Dutch singer, she has managed to conquer the Chinese market for instance, which is a unique achievement.

Surprises are typical for a performer who has re-invented herself many times. Since her dance hits with the girl group Centerfold in the early 1980s, Laura has travelled down numerous musical pathways, such as jazz, Latin, and chansons: not shying away from any genre or style. That wilful quest for renewal has rendered collaborations with such music luminaries as Toots Thielemans, Michel Legrand and Michael Franks. Laura has also been presented with various gold and platinum discs and awards, as well as playing the lead role in Singapore of her favourite musical Victor/Victoria. Laura Fygi has made 16 albums so far of which two specially for the Asian market. Early 2019 a new album will be released in Greater China produced by Jeremy Monteiro and titled ‘Laura Fygi goes East https://www.jazzgala.sg/laura-fygi-bio

Laura Goes East

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Marcel Loeffler - Around Gus

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 51:56
Size: 120,6 MB
Art: Front

(2:51) 1. For Steph
(2:18) 2. Le Bal Du Petit Jardin
(4:06) 3. L'aurore
(2:34) 4. Espérance
(4:15) 5. Lorsque Django Jouait
(4:10) 6. Izora
(2:14) 7. Soir De Dispute
(7:56) 8. Medley: Mystérieuse / Indifférence / M. Lo, Pt. 1 / Sa préférée / M. Lo, Pt. 2 / Le tricheur / M. Lo, Pt. 3 & 4
(3:21) 9. Philippe's Stomp
(2:32) 10. Ombrages
(3:56) 11. Gina
(4:00) 12. Latcho Divess
(2:38) 13. Flambée Montalbanaise
(4:58) 14. Balade En Émotions

Gus Viseur is a mythical forerunner of the jazz accordion, having collaborated in the thirties with Django Reinhardt's Hot Club de France, but he is one of the French masters of the instrument, with whom he contributed to making the musette great and accompanied among the others Edith Piaf. His compatriot and present-day of Manouche origin, Marcel Loeffler, pays homage to him in this work, which features compositions by both accordionist, along with other traditional and original pieces. The figure is very traditional, nor could it be otherwise seen the program and the formation, which sees alongside the accordion only guitars (there is also Mandino Reinhardt), in addition to the double bass by Claudius Dupont which is in fact from the first piece perhaps the only element of partial originality, with his (albeit brief) solos. For the rest, beautiful melodies, now faster, now very touching such as "Le bal du petit jardin" or "Flambée montalbanaise" (beautifully interpreted on vocals by André Minvelle), which highlight in particular the qualities of Loeffler, agile on the keyboard and capable of beautiful sound. The pieces in which Raymond Halbeisen's clarinet takes place are more open, but the atmospheres that, from the program, make so much vieille France are always very involving. Translate By Google ~AAJ Italy Staff https://www.allaboutjazz.com/around-gus-dreyfus-records-review-by-aaji-staff.php

Personnel: Marcel Loeffler (accordion), Raymond Halbeisen (clarinet), Hono Winterstein (guitar), Cedric Loeffler (guitar), Mandino Reinhardt (guitar), Claudius Dupont (double bass), André Minvelle (vocals).

Around Gus

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Eddie Daniels - Brief Encounter

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 42:37
Size: 99,5 MB
Art: Front

(5:34) 1. Brief Encounter
(5:37) 2. A Child Is Born
(9:20) 3. Path
(5:22) 4. Sway
(8:15) 5. There Is No Greater Love
(8:26) 6. Ligia

Eddie Daniels splits his time almost equally on this underrated LP between tenor, flute and clarinet. Joined by keyboardist Andy Laverne, bassist Rick Laird and drummer Billy Mintz, Daniels is in consistently creative form on the six selections with highlights include his clarinet on the uptempo "There Is No Greater Love" and his work on four overdubbed flutes (one of which is a bass flute) for a haunting rendition of "A Child Is Born." It seems strange that it would still be another eight years before Eddie Daniels gained recognition as a masterful improviser and technician for in 1977 he was already pretty much there. Recommended. ~ Scott Yanow https://www.allmusic.com/album/brief-encounter-mw0000197209

Personnel: Bass – Rick Laird; Clarinet, Flute, Tenor Saxophone – Eddie Daniels; Drums – Billy Mintz; Synthesizer [String Ensemble], Electric Piano [Fender Rhodes] – Andy Laverne

Brief

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Rob Zinn - Walk the Walk

Styles: Trumpet Jazz, Smooth Jazz
Year: 2018
File: MP3@320K/s
Time: 43:08
Size: 99,8 MB
Art: Front

(4:10) 1. Walk the Walk
(4:46) 2. Wherever You Are
(4:55) 3. Journey of the Heart
(3:55) 4. Yesterday Love
(4:41) 5. Blue Night
(3:48) 6. Never Gonna Give up on You
(4:20) 7. I Can See It in Your Eyes
(4:46) 8. Summer Nights
(3:49) 9. 11th Hour
(3:54) 10. Could It Be You

Delaware based trumpeter and flugelhornist Rob Zinn focused for the first time on the smooth jazz genre with his album Yesterday Again (2016). With his sophomore album Walk The Walk (2018) he wants to do another step and take his music to the next level. All ten tunes are originals, engineered, mixed and produced by Paul Brown at his very own studio, The Funky Joint. Rob performs on his album trumpet and flugelhorn. He is accompanied by Andrew Neu, Michael Paulo (sax), Paul Brown (guitar, percussion), Marco Basci (keyboards), Roberto Vally, Bryant Siono (bass), Gorden Campbell (drums), Andre Frappier (guitar), Dax Reynosa (vocals), Lew Laing (keyboards, programming), Jeff Carruthers (keyboards, strings, synth horns, drums and percussion programming), and Ritchie Garcia (congas). The new project shows with the first tune the direction, the complete album is taking. Walk The Walk is built on a solid horn arrangement featuring Rob's immense trumpet talent and one of the most underrated sax player in smooth jazz, Andrew Neu. Wherever You Are chooses a different approach. A romantic theme performed by Rob on flugelhorn subtly merging with Andrew's tenor sax.

The flugelhorn as a jazz instrument has a softer tone compared to conventional flugelhorns in the field of folkloric or classical music. Journey Of The Heart is a good example how smooth the flugelhorn can sound in the hand of a master. Yesterday Love reminds me of Herb Alpert's Second Wind. The resounding trumpet contrasts to the crispy R&B flavored style composed by Dax Reynosa and Lew Laing. Blue Night features Rob Zinn and Paul Brown in an extraordinarily exciting dialogue between trumpet and guitar. Never Gonna Give Up On You is the second outstanding tune with guitar and trumpet in the lead. I Can See It In Your Eyes is a phrase, which dotted the history of music. Rob makes the best out of this theme, a dense atmosphere between dream world and fantasy. The term Summer Nights often combines the association of hot nights with boisterous festivities. Saxophonist Michael Paulo is as well known host of numerous Hawaiian events an expert in filling this term with life. If we often associate midnight with the magic of the night, we neglect the 11th Hour, which is upstream as a field of tension. Rob brings this fascination with his trumpet back to memory. Could It Be You incorporates Paul Brown's mellow guitar blues to Rob's incomparable phrasing and command of the trumpet. With Walk The Walk Rob Zinn has taken a new road, not an easy one but inspirational. Of course, he has gotten support of some clever minds for his new album. The result is convincing beyond measure. http://www.smooth-jazz.de/starportrait/Zinn/WalkTheWalk.htm

Walk the Walk

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Toots Thielemans - For My Lady

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 58:18
Size: 134,5 MB
Art: Front

(4:31) 1. For My Lady
(5:33) 2. How Long Has This Been Going On?
(4:15) 3. Blues In The Closet
(8:08) 4. Someone To Watch Over Me
(4:42) 5. I'm Beginning To See The Light
(4:59) 6. The More I See You
(4:02) 7. The Mooche
(4:41) 8. Close Your Eyes
(3:34) 9. Blue And Sentimental
(5:38) 10. Corcovado
(4:52) 11. Willow Weep For Me
(3:18) 12. Once In A While

The emphasis is on ballads for harmonica player Toots Thielemans' outing with the Shirley Horn Trio. Horn, in addition to contributing some tastefully supportive piano and occasional solos, takes a vocal on "Someone to Watch Over Me." Toots sounds quite relaxed performing 11 standards (only "Blues in the Closet" generates much heat) plus his original "For My Lady" with such comfortable backing. ~ Scott Yanow https://www.allmusic.com/album/for-my-lady-mw0000269257

Personnel: Drums – Steve Williams (5); Electric Bass – Charles Ables; Harmonica, Guitar, Whistle – Toots Thielemans; Piano – Shirley Horn; Vocals – Shirley Horn (tracks: 4)

For My Lady

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Luba Mason - Triangle

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 45:36
Size: 104,9 MB
Art: Front

(5:03) 1. Bach, Stevie Wonder and Janelle Monae
(3:57) 2. Haled's Song About Love
(5:09) 3. Ticket to Ride
(4:27) 4. Waters of March
(3:43) 5. Ceresne
(3:50) 6. In Walked Bud
(4:02) 7. Inolvidable
(4:59) 8. Toxicity
(5:23) 9. Say It
(5:00) 10. 50 Ways to Leave Your Lover

The rather smarmy "Bach, Stevie Wonder, and Janette Monae" opens this live performance. While disconcerting, the tide shifts dramatically with The Beatles' John Lennon-Paul McCartney classic "Ticket to Ride." It is reimagined in a sultry and just short of brilliant manner. Luba Mason's vocal phrasing brings an entire new essence to this tune. Bassist James Genus plays a line throughout which is a slow groove with a lot of feeling. Vibraphonist Joe Locke solos in spectacular fashion, while percussionist Samuel Torres joins the party and adds some spice. A pleasant surprise which is perhaps the best tune on the record. Mason again sparkles with phrasing and delight in the buoyant "Waters of March." Genus and Locke capture a mood that Torres rides smoothly. Genus kept the tempo solid for the duration, wisely not taking it to fifth gear; it didn't need to go there as it was crisply paced and humming along nicely. Sung in both Slovak and English, "Cersne"(Cherries) is sexy and seductive. Perhaps, better said that Mason is sexy and seductive. If anyone else was playing on this piece it went unnoticed! Actually it's a duet with Locke. Time to swing, and that is what they did. Genus dug in to the Thelonious Monk classic "In Walked Bud" with verve and was accompanied by Locke's flavorful vibe riffs. Mason turned it on, and the joint was jumping. Mason is both romantic and vibrant in "Inolvidable"(Unforgettable).The Latin-laced piece showcases her broad and delightful skillset.

The heavy metal tune "Toxicity" is boldly tackled by the ensemble. Genus and Locke fervently jam their way through with some powerful and melodic lines. Mason shows remarkable range, deciphering the less-than-jazz-like and tension-filled lyrics. "Say It" is sung with such heart and poetic charm that one might want Mason to say it over and over again and over and over again....Genus and Locke again are tightly locked in and play this uplifting tune with equal heart. This is a truly stunning trio performance. Mason delivers Paul Simon's "50 Ways to Leave Your Lover" as if it were her very own tune. She owned it from start to finish. She had a lot of fun with it. Again, her phrasing just has to be mentioned. Genus, Locke, and Torres build consistently and reach a powerful level which has the crowd up stomping and clapping along at the conclusion. Generally, not what you want at a jazz concert, but somehow it worked here, perhaps because it was so spontaneous and unexpected. A bass and vibraphone rhythm section is rarely employed. Based on this outing from Genus and Locke one might wonder why. They fitted like a glove, played off each other real well, and their collective sound was spot on. As for Mason, is there any song or type of song she can't sing and turn into exactly what she wants it to be? A uniquely gifted and talented woman for certain. ~ Jim Worsley https://www.allaboutjazz.com/triangle-luba-mason-luba-mason-productions

Personnel: Luba Mason: voice / vocals; James Genus: bass; Joe Locke: vibraphone; Samuel Torres: percussion.

Triangle

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Colette Wickenhagen - Just Friends Jammin'

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 126,2 MB
Art: Front

(3:13) 1. Agua De Beber
(4:55) 2. More Than You Know
(5:54) 3. Days Of Wine And Roses
(2:10) 4. Just Friends
(6:15) 5. How Long Has This Been Going On?
(3:27) 6. No Moon At All
(4:05) 7. They Can't Take That Away From Me
(5:11) 8. What A Difference A Day Made
(5:32) 9. The Nearness Of You
(2:19) 10. 'S Wonderful
(3:37) 11. Just One Of Those Things
(5:01) 12. Jetlag Jam
(2:49) 13. A Night In Tunesia

Trained as a dancer, singer, actress & entertainer in the UK and the Netherlands.Born in a family of music lovers, Colette was brought up with jazz, as her father played and loved it! That love continues into the next generation. Colette has sung many different styles of music as she worked as an entertainer for many years, but singing jazz is like “coming home” to Colette. “One of the greatest gifts my father gave me was his enthusiasm, dedication to and love for music, in particular jazz music. I inherited that love and am forever grateful. We used to listen to Benny Webster, Ella Fitzgerald & Louis Armstrong, the Bosswell Sisters, Miles Davis and many others and went through all the emotions those fabulous musicians led us through. Once I started singing jazz I found that I just love singing those old wonderful songs with their timeless lyrics.” https://musicians.allaboutjazz.com/colettewickenhagen

Personnel: Colette Wickenhagen - vocals; Hans Kwakkernaat - piano; Wiro Mahieu - double bass; Ben Schrder - drums; Clous van Mechelen - tenor saxophone; Saskia Laroo - trumpet; Rinus Groeneveld - tenor saxophone; Frits Kaatee - baritone saxophone; Michael Gustorff - violin

Just Friends Jammin'

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Corey Christiansen Quartet - Outlaw Tractor

Styles: Guitar Jazz
Year: 2010
File: MP3@320K/s
Time: 50:10
Size: 116,6 MB
Art: Front

(7:58) 1. Down Time
(9:02) 2. Carefree
(7:22) 3. When You Want
(5:09) 4. Starstepper
(7:51) 5. Outlaw Tractor
(5:58) 6. Big Kids
(6:48) 7. The Penguins Deserve Better

The reason behind Corey Christiansen's clinically precise guitar style is his experience with Mel Bay Guitar Instruction. He is fluent in all guitar styles, which fully informs his recording and performing persona. His previous recording, Roll With It (Origin, 2008), employing the same band as on the present Outlaw Tractor, was a sleek funk machine updating the soul jazz of the 1960s. Previous to that, Awakening (Mel Bay, 2004) demonstrated, with a piano quartet, the great (if a bit wordy) promise that Christiansen has brought into sharper focus with his more recent organ quartet releases.

Christiansen tightens things up on Outlaw Tractor, a true feat when considering Roll With It was tight as a drum. The disc opener sets the tone, and that tone is Les McCann, Eddie Harris, Ramsey Lewis "The In Crowd" funky. "Down Time" begins with a brief organ processional that introduces Christiansen's too-funky-to-live subject. His tone remains slightly fuzzy and round, distorted in the middle of the reverberation spectrum. This gives his chording a punchy, bright feel. The first solo out is saxophonist David Halliday, who squeezes notes out like Lee Morgan on The Jazz Messengers' "Moanin,'" redefining the meaning of "bad" in the jazz vernacular. Organist Pat Bianchi plays conservatively, never overwhelming even in his solos. Origin mainstay Matt Jorgensen deftly provides the rhythmic momentum to sent this boat forward. "When You Want" features an equally funky introductory line that evolves into the piece's angular head. Guitar and saxophone double over Bianchi's harmonic support Christiansen's solo pithy with attitude, while Halliday paints outside the lines and the organist plays from the Funky Church of Al Green. This is beautifully conceived soul jazz given a 21st Century spin. All seven selections, Christiansen originals, mine this rich loam of American music and present it in a spic and span modern fashion. The compositions are both immediate familiar and, at the same time, brand new. Outlaw Tractor is an improvement over the excellent Roll With It, and that is saying something.~ C.Michael Bailey https://www.allaboutjazz.com/outlaw-tractor-corey-christiansen-origin-records-review-by-c-michael-bailey.php

Personnel: Corey Christiansen: guitar; David Halliday: saxophone; Pat Bianchi: organ; Matt Jorgensen: drums.

Outlaw Tractor

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Brad Shepik - The Well

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 62:44
Size: 145,1 MB
Art: Front

( 5:49) 1. The Flood
( 8:40) 2. Zephyr
( 8:09) 3. The Well
( 7:45) 4. Quiver of Veils
( 6:58) 5. Asilah
( 4:37) 6. Might Could
( 6:37) 7. Vapor Oro
(14:04) 8. The Flower and the Bee

Taking a cue from his work with the Paradox Trio, guitarist Brad Shepik continues to delve into Balkan and Middle Eastern sounds on this follow-up to 1997's The Loan (also on Songlines). Aiding Shepik are Peter Epstein on alto and soprano saxophones, Skuli Sverrisson on electric bass, Michael Sarin on drums and percussion, and fellow Paradoxer Seido Salifoski on dumbek and percussion. Tracks like "The Flood," "Zephyr," and "Vapor Oro" zip along with head-spinning odd meters and fast unison melodies ' very similar to the Paradox Trio. "The Well" is a little calmer, giving Shepik a chance to display his rich tone on the archtop acoustic. "Quiver of Veils" is calmer still, beginning with a nimble bass intro by Sverrisson. On several tracks Shepik employs the saz, a balkan stringed instrument with a ghostly timbre. But in stark contrast to the unfamiliar sound of the saz, Shepik offers up "Might Could," a multitracked acoustic guitar etude with moments that could be classed as McCartney-esque. Shepik's got the mind of a pioneer. The rhythmic complexity of his compositions has few parallels in jazz ' or any other genre, for that matter. With all his exotic influences, and all his different axes, he makes us rethink what it means to be a guitarist and a musician. There's no telling where he'll go next.~ David Adler https://www.allaboutjazz.com/the-well-brad-shepik-songlines-recordings-review-by-david-adler.php

Personnel: Brad Shepik: guitar.

The Well

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Jane McDonald - You Belong to Me

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 50:09
Size: 116,5 MB
Art: Front

(3:16) 1. Give Me Time
(3:07) 2. Where the Boys Are
(3:28) 3. Little Things Mean a Lot
(2:24) 4. Kiss Me, Honey, Honey, Kiss Me
(3:24) 5. (There's) Always Something There to Remind Me
(3:55) 6. It Must Be Him
(3:29) 7. This is My Song
(3:02) 8. Blame It on the Bossa Nova
(2:40) 9. You're Breaking My Heart
(4:06) 10. You Belong to Me
(4:23) 11. I See It in Your Eyes
(4:51) 12. When I Look at You
(4:41) 13. Kiss Me One More Time
(3:17) 14. Behind Closed Doors

Jane rocketed to stardom in 1998 when she first appeared on our screens in the BBC 1 docusoap The Cruise. The series attracted 13 million viewers and Jane McDonald emerged as a star and household name Jane’s first album outsold her nearest rivals by four to one and gained Jane a place in the Guinness Book Of Records. It remained at Number One for three weeks and achieved platinum status staying in the Top 10 for 8 weeks. Each of Jane’s subsequent 4 major albums have all reached gold and silver status. 2009 saw the first album release under her own label. Simply titled ‘Jane’ it entered the Official UK Album Chart at Number 7 and achieved silver status within 6 weeks. Jane has built up a phenomenal theatre audience, performing incredible live concerts across the United Kingdom and Southern Ireland, selling out the Royal Albert Hall and the London Palladium twice. Jane has also played to a sold out audience at the MGM Grand, Las Vegas. The concert was filmed for DVD and went on to become an instant hit in the charts and the Mayor of Las Vegas presented Jane with the ‘Key To the City’. Jane was a regular panelist on the hit daytime show Loose Women and a regular guest on The Alan Titchmarch Show. Other TV highlights include, Never Mind The Buzzcocks, This Morning, GMTV and The Jonathan Ross Show. In 2015 she performed the coveted role of Grizabella in Andrew Lloyd Webber’s CATS at Blackpool Opera House for which she received rave reviews. Jane puts her heart and soul into her sell out performances, produces her own albums on her own label, was executive producer on her CD/DVD, Live at the London Palladium and works along side her Musical Director on arrangements and recordings. In 2016 she embarked on her ‘Making Memories’ tour which sold out at venues all over the UK. It was so popular she continued touring the show throughout 2017.More.. https://jane-mcdonald.com/bio

You Belong to Me

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Joe Gilman Trio - View So Tender: Wonder Revisited Vol. 2

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 63:20
Size: 145,9 MB
Art: Front

(6:19) 1. Cryin' Through the Night
(6:52) 2. Whereabouts
(5:50) 3. Knocks Me Off My Feet
(6:05) 4. You and I
(6:49) 5. Contusion
(6:05) 6. Bird of Beauty
(6:02) 7. Easy Goin' Evenin'
(5:18) 8. Another Star
(7:10) 9. Don't Know Why I Love You
(6:45) 10. As If You Read My Mind

Joe Gilman is a young and experienced jazz pianist whose brilliance is unquestioned, and whose taste level is refined within the modern mainstream progressive aesthetic. While never a chart topper of critic's darling, he in fact should be, based on his sheer talent and ability to craft new shapes and sounds out of established pop or jazz material. This second volume of modifications on the music of Stevie Wonder continues Gilman's path of self-discovery and intrigue, turning 14K tunes into solid gold. What distinguishes these alterations is their utter departure from the original melodies, as Gilman makes them his own in no uncertain terms. The two most famous tunes are "You & I" and "Another Star," the former a relatively recognizable deeply romantic ballad, and the latter an unexpected fleet and dynamic hard bop version à la McCoy Tyner. Gilman loves to employ tricky meter switch-ups, in tiptoe time from 7/8 to 5/4 on "Whereabouts," shifting complex and modern 5/4 to simplified and breezy 6/8 during "Knocks Me Off My Feet," and doling out large portions of free time, quirky and playful chunks of light and heavy rhythm changes on the hard bop based "Contusion." Gilman uses bouncy, quaint, and swinging chords opposite the response of bassist Joe Sanders on "Cryin' Through the Night," employs a similar reverberation in reverent, restrained, and heavier chord definitions or contours during "Easy Goin' Evening," and straightens the course during a samba infused "Bird of Beauty." Drummer Justin Brown is up to the task on all of these adaptations, steadily navigating the cleverest rhythms during the long spirit song "Don't Know Why I Love You," and establishing a contemporary loping bluesy pace à la Vernell Fournier of Ahmad Jamal's bands for "As If You Read My Mind." This is a solid effort that proudly stands alongside the first volume of Gilman's previous tribute to Motown's pop icon, as well as the pianist's 2003 tribute to Dave Brubeck. It is also one of the better jazz recordings of 2008, well worth your while whether you are a piano fan, neo-bop lover, or enjoy your pop music with an energized, direct, straight-ahead infusion. ~ Michael G.Nastos https://www.allmusic.com/album/view-so-tender-wonder-revisited-vol-2-mw0000581268

Personnel: Piano – Joe Gilman; Bass – Joe Sanders; Drums – Justin Brown

View So Tender: Wonder Revisited Vol. 2

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Diane Schuur - The Best of Diane Schuur

Styles: Vocal
Year: 1997
File: MP3@320K/s
Time: 55:36
Size: 128,7 MB
Art: Front

(3:08) 1. All Right, OK, You Win (I'm In Love With You)
(4:29) 2. Try A Little Tenderness
(3:47) 3. Them There Eyes
(4:00) 4. Sunday Kind Of Love
(5:12) 5. Speak Low
(2:19) 6. Deed I Do
(5:14) 7. At Last
(5:43) 8. A Time For Love
(3:05) 9. Blue Gardenia
(5:22) 10. New York State Of Mind
(6:36) 11. 'Round Midnight
(3:04) 12. Stormy Monday Blues
(3:31) 13. Deedles' Blues - Live

Big band, big sound, big brass, big voice-"All Right, OK, You Win, (I'm in Love with You)." Smaller band, but voice still big and way up front: "Try a Little Tenderness." The Best of Diane Schuur shows off the singer's large charms as first displayed on nine GRP discs. She sings beautifully up and down in her range she can pierce your heart with that huge wail (as on "Try a Little Tenderness") and then meet the Diana Krall types on their own turf in numbers like "Them There Eyes" (although she takes it much farther up and out than Diana tends to go). If you're looking for a great contemporary jazz singer, and haven't heard Schuur, pick this up. Otherwise the source albums are a better buy, for she never drops off much in quality: There's B.B. King, in duet on "Try a Little Tenderness," and the whole album Diane Schuur and B.B. King Heart to Heart. Schuur is a fine match for the legend, but I would quibble with the way the duet is organized: the title's admonition, originally advice to a third party, becomes Schuur's admonition to B.B. It sounds whiny, and whiny Schuur ain't. The other turn with King on this record, "At Last," works somewhat better. In any case, the objection seems extra-musical it sounds wonderful.

"Sunday Kind of Love" is enlivened by a terrific trumpet solo by-whom? The disc says, "Jack Sheldon, Wayne Bergeron-trumpets." Great; one of them is first-rate. To "Speak Low," Tom Scott brings his tenor, which is just fine, and his strings, which are perhaps just a trifle much. The tune's "Ipanema-ville" guitar would do nicely on its own, thank you. And thank a certain Dori Caymmi. Joe Williams brings his somewhat bigger name to "Deed I Do" (What can be said about Joe Williams?). It is high praise for Schuur that she is by no means outgunned in this duet. And who's that with the tenor saxophone break that harks back to classic pulse-stoppers like John Coltrane's entrance on "Freddie Freeloader"? Well, it could be Fred Jackson, Ernie Fields, Joel C. Peskin, or Jack Nimitz. At least there's no mistaking Mr. Stan Getz on the gossamer "A Time for Love," where Jeremy Lubbock's orchestral arrangement is not earth-shattering, but meshes nicely with Getz's buttery-smooth tone. This is Getz in 1986, from the disc Timeless. Has there ever been a plusher sound? I just wish they'd thought of a better ending than the ghastly falsetto chant here. Then there a big band "Round Midnight." Here her touch is more delicate than usual, and she comes up with a real new contribution to this well-covered item. "Stormy Monday" storms along in Schuur's more accustomed fashion, and "Deedles' Blues" shows off the Count Basie Orchestra. They can still kick, and Schuur sounds right out of 1958. Atomic Basie, Atomic Schuur. It's a Best of, sure, so it's understandable that there would be no weak cuts. Still, with Diane Schuur's voice, weak cuts would be hard to find. ~ Robert Spencer https://www.allaboutjazz.com/the-best-of-diane-schuur-diane-schuur-grp-records-review-by-robert-spencer.php

The Best of Diane Schuur

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